Grosse Orgelsolomesse in Es (Missa in honorem Beatissimae Virginis Mariae). By Franz Joseph Haydn (1732-1809). Edited by Christoph Grosspietsch. For Soli SATB, SATB Choir, 2 English Horn, 2 Horns, 2 Violins, Cello/Contrabass, Organ solo, [2 Clarinos/Trumpets, Timpani]. Es-Dur (E-flat major). Stuttgart Urtext Edition. Score available separately - see item CA.4060300. Masses, Latin. Complete orchestral parts. Language: Latin. Hob. XXII:4. Duration 40 minutes. Published by Carus Verlag (CA.4060319).
With Language: Latin. Masses, Latin.
Haydn's so-called Great Organ Solo Mass in E flat major is among those works by Joseph Haydn which early in its history enjoyed widespread dissemination. The E flat major Mass, with an unusual scoring including two English horns in the orchestra, was composed around 1770 during the first years of Haydn's tenure as Music Director for the Court of Esterhazy. Despite the readily playable, effective part for organ, employed prominently as a solo instrument in the piece, the Missa in honorem Beatissimae Virginis Mariae, which was composed for a Feast to the Blessed Virgin Mary, is seldom performed today. The new critical edition hopes to stimulate new interest in this work.

Hansel und Gretel by Engelbert Humperdinck (1854-1921). Arranged by Reiner Lughausen. For Concert band. Symphonic Series. Grade 5. Score and set of parts. Duration 0:07:06. Published by Beriato Music (BT.0004-1-59).
Hansel and Gretel is definitely one of the most famous classical overtures that is still often played. This composition gives a stylish elan to every concert, but is also appropriate for a competition. In this overture all the instrument groups are heard, especially the horns.

Missa in Angustiis (Nelson Mass). By Franz Joseph Haydn (1732-1809). Edited by Wolfgang Hochstein. For SATB vocal soli, SATB choir, 3 clarinos/trumpets, timpani, 2 violins, viola, cello/double bass, organ, [flute, 2 oboes, 2 clarinets, bassoon, 2 horns]. D-Moll (D minor). German title: Nelsonmesse in D XXII:11. Masses, Latin. Complete orchestral parts. Language: Latin. Composed 1798. Hob. XXII:11. Duration 40 minutes. Published by Carus Verlag (CA.4060919).
With Language: Latin. Masses, Latin.
The "Missa" in D minor, published here, the third of Haydn's six late masses, was written during the summer of 1798 between the two late oratorios. According to the dates given on Haydn's autograph score he completed the composition in less than eight weeks. The score bears no particular title, but in Haydn's manuscript thematic catalogue of his works he referred to it as "Missa in Angustiis".Score available separately - see item CA.4060900.

Davide penitente (Cantata). By Wolfgang Amadeus Mozart (1756-1791). Edited by Wolfgang Gersthofer. Arranged by Paul Horn. For Soli SST, SATB/SATB Choir Flute, 2 Oboes, Clarinet, 2 Bassoons, 2 Horns, 2 Clarinos/Trumpets, 3 Trombones, Timpani, 2 Violins, 2 Violas, Cello/Contrabass, [Speaker]. Stuttgart Urtext Edition. Score available separately - see item CA.5146900. Oratorios; Lent and Passiontide. Complete orchestral parts. Language: Italian. Composed 1785. KV 469. Duration 45 minutes. Published by Carus Verlag (CA.5146919).
ISBN M-007-09021-0. With Language: Italian. Oratorios; Lent and Passiontide.
The Vienna Musicians' Society, a pension fund for the widows and orphans of professional musicians, asked Mozart, among others, to compose a choral work for performance at their benefit concert series. Presumably it was due not just to the pressure of a deadline, but also for the chance to have the music of the torso of the great C minor Mass, K. 427, performed in Vienna that he chose to arrange this composition for the Society as the cantata Davide penitente (The Mass was originally written for a performance in Salzburg in 1783). Thus, Mozart set the Kyrie and Gloria with a sacred text in Italian in the style of penitential prayers. The text was suited for Lent, which occurred at the time of the benefit concert. He also added one newly-composed aria for tenor and one aria for soprano.

Diabelli-Variationen. (Autographe Notenhandschrift im Faksimile). By Ludwig van Beethoven (1770-1827). This edition: 2 volumes (autograph facsimile, facsimile of the original). Beethoven-Haus. Facsimile. Language: all languages. Composed 1964. Opus 120. 212 pages. Published by Carus Verlag (CA.4731900).
With Language: all languages. Beethoven-Haus.
In 2009, Beethoven-Haus Bonn was able to acquire Beethoven's working manuscript of his last great piano work, his most important cycle of variations. The Diabelli variations op. 120 are in many respects extraordinary. In an unprecedented joint effort, noted artists and numerous public and private sponsors made possible this spectacular acquisition. The facsimile edition makes for the first time this important Beethoven autograph, which was previously in private hands, accessible to all who are interested in viewing it: musicians, musicologists, music lovers and bibliophiles can now experience and profit from this fascinating manuscript. This unique autograph comprises 86 hand written pages. Following the leaf with the prescribed Diabelli theme, it contains the complete cycle of 33 variations, and includes several inserted leaves. Beethoven's compositional process can be recognized by means of the intensive corrections, the far-reaching conceptional alterations and editorial details down to the finest nuance. The second volume of the facsimile edition is a reproduction of the first edition, in which Beethoven wrote a handwritten dedication to Prince Lobkowitz's treasurer Wenzel Kaspar von Damm. Thus the facsimile edition offers two authentic sources for direct comparison. In terms of the genesis of Beethoven's work, in his accompanying commentary William Kinderman places the autograph in the context of more than a dozen sketches and drafts. The structure of the autograph, the special character-istics of its handwriting, and several text-critical problems are elucidated by Michael Ladenburger and Bernhard R. Appel.2 volumes (autograph facsimile, facsimile of the original).

String Quartet in A Minor, Op. 132. (Hardcover, facsimile edition). By Ludwig van Beethoven (1770-1827). For String Quartet. Henle Facsimile. Hardcover. G. Henle #HN3222. Published by G. Henle (HL.51483222).
This lavish four-color printing of Beethoven's opus 132 autograph manuscript allows the composer's occasionally unconventional manner of notation to come to life. The edition is rounded off with a preface by the pianist András Schiff, with whose generous support this valuable facsimile was made possible.

Silvana WeV C.5 Band 3b (Romantic opera in 3 acts (3 volumes) - Act 2). By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). Edited by Markus Bandur. This edition: WGA 1032-20; Cloth-cover, Complete edition. Complete Editions. Carl Maria von Weber - Complete Works, Band 3b. Score and critical commentary. 244 pages. Published by Schott Music (SD.49019298).
ISBN 978-3-7957-9447-7.
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.

Silvana WeV C.5 Band 3a (Romantic opera in 3 acts (3 volumes) - Overture, Act I). By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). Edited by Markus Bandur. This edition: WGA 1032-10; Cloth-cover, Complete edition. Complete Editions. Carl Maria von Weber - Complete Works, Serie III, Band 3a. Score and critical commentary. 254 pages. Published by Schott Music (SD.49019231).
ISBN 978-3-7957-9344-9.
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.